This document was originally written as an instructional pamphlet. That's a division of the Society for Creative Anachronism, Inc. Accordingly, the focus of this document is on pre-modern historical European occurrences of the weave and on re-creating the weaves in the context of the SCA. It has been somewhat re-written for web posting, and some additional information has been added on the antiquity of this weave.
This document is provided as is without any express or implied warranties.
While every effort has been taken to ensure the accuracy of the information contained, the author assumes no responsibility for errors or omissions, or for damages resulting from the use of the information contained herein.
Permission is granted to make and distribute verbatim copies of this document for non-commercial private research purposes provided the copyright notice and this permission notice are preserved on all copies. This pamphlet introduces one period technique for achieving a figured tablet weave. It assumes some basic knowledge of the mechanics and terminology of tablet-weaving.
All instructions included herein assume that you have completed at least one tablet-weaving project and that you want to know more about historical techniques of tablet-weaving. You should already know how to read a tablet-weaving draft, number your tablets, correctly thread the tablets and warp whatever kind of loom you use based on the draft, follow a turning sequence, and remove the piece from the loom. It is also assumed that you thread your tablets with the printed side toward the right, with Tablet 1 at the left side of the pack, and that you weave away from yourself.
The term "home position," drawn from the book Step by Step Tablet Weavingrefers to the basic starting point of a sequence of weaving. Specifically, it refers to the position of the tablets wherein holes C and D are closest to the fell woven part of the piece, as opposed to the as-yet-unwoven part, or warp. In this position holes A and B are closest to the warp. Thus, holes A and D are "up.
Nevertheless, all the threading diagrams and turning sequences in this pamphlet are predicated on the initial placement of the tablets in "home position. The term "warp-twined selvedges" refers to selvedges that are executed in plain weave i. They provide firmness and strength to loose weaves such as the double-faced weave technique discussed here. Warp-twined selvedges were an important component of a carefully woven piece in the Middle Ages. Marking or coloring the edges of selvedge tablets helps make it quick and easy to identify them during the weaving of a piece; this is especially useful during the weaving of double-faced bands.
In plain patterned double-faced weaves the tablets are most often threaded with two holes each in two colors; the background tablets are turned in a repeating pattern two forward, two backward while the pattern tablets are turned in the reverse pattern two backward, two forward in order to bring up patterns.
The resulting piece is counterchanged: it displays on its face patterns in one color on a background of the other color, and on its reverse the same patterns appear mirrored, with the opposite color scheme. It is also possible to incorporate more than two colors into a piece, or to produce the same weave without patterning. Some sources refer to this weave as "double-face double-turn. Tablets can also be threaded alternately in sets of two, i.
Huck (Swedish Weaving)
Double-face weave that is threaded alternately S and Z is the subject of this document. It makes excellent trim because of its design flexibility. It is possible to weave all sorts of motifs into it--from animals to celestial motifs, human handiworks, heraldic insignia, geometrics, interlacing, and lettering.
The first known pieces that utilize this technique are two of the tablet woven finds from the Hallstatt period Celtic chieftain's grave at Hochdorf. These bands date to about the late sixth century BCE.
The patterns in the non-twill double-face area are horizontal to the weave, i. An eighth-century Byzantine tablet-woven band found at Moscevaja Balka at the northwestern end of the Caucasus Mountains near the Sea of Azov is worked in Greek lettering Ierusalimskaja, f.
Although the write-up isn't clear about the specific tablet-woven technique employed, the photo suggests alternately-threaded double-face weave.
The Greek capital letters, with their prominent weftwise ascenders, would not look nearly so crisp in a twill weave. A later piece, more widely known from its publication in Collingwood, is an unpatterned Egyptian one. Dated to about the tenth century, it displays the characteristic weave structure of alternately-threaded double weave but no woven patterning; instead, it bears an embroidered inscription Collingwood, Later on this weave also appears in two geometrically patterned Scottish seal tags from about the turn of the thirteenth century; however, both these ribbons are threaded in the same direction Henshall, Answering to a growing interest in knitting sweaters from the top down and knitting seamless sweaters that require little finishing.
This book features attractive, comfortable and wearable slacks in several styles for all occasions. Designed for the flatbed, standard gauge machine, Knit-1 includes step-by-step instruction for knitting socks with a Christmas flair!
Included is a fun, fairisle punchcard pattern and a striped version. This book contains patterns for several skirts, bodices, jackets and a caftan. The skirts can be made with a waistband or continued on as a dress. Bodices may be made into overblouses or added to the skirts to make a gown.
These outfits can be knitted in long or short length. Combine the patterns to make your own original ensemble and way you wish. Knit-on Collar with three choices of neck openings. Easy diagram and written instructions for step-by-step knitting.Changing Colors
Machine knitters can quickly knit gorgeous skirts that rival designer styles in both price and custom fit! Master the tricks for professional finishes with this exciting new book. Practice a multitude of stitch types and techniques while knitting practical pillows for yourself or for gifts!
For a long time the demonstrating of the Garter Bar has been one of my most popular presentations. Under this cover, you have the information given during these lectures.
In addition, full illustrations are offered to assist you in mastering this necessary accessory to your knitting machine. Use your favorite knitting pattern and add a decorative, useful hood. With a little math you can make it your own! Ten designs for pullovers and cardigans all in five sizes to fit 12 months to 5 years. Styles include drop shoulders, saddle shoulders, raglan sleeves, crew and V necks in a number of different stitches.
A variety of methods are used for knitting the necks and buttonbands. Using a bit of crochet can add the perfect finish to a garment. Stuffed full of detailed tips, this book is sure to help you be a better knitter!
Gloves on the knitting machine? Knit-1's inspirational pattern will get your creative juices flowing! Simply Beautiful! These are patterns for juniors, misses, and ladies. Included are easy step-by-step instructions and detailed diagrams.
Although written for hand knitters, the topics in this book are imporant for machine knitting as well. This is the first book that delves deeply into easily mastered techniques that can be used to adapt and customize any project. Knitting the Perfect Fit is an invaluable guide for anyone interested in learning and perfecting shaping details in their knitting.
Knit-1 has done it again! Incorporate a simple star motif to create 5 stylish pieces. Knit a sweater, hat, scarf, or cowl How much yarn do I need? This handy, portable guide gives accurate estimate for planning your knitting.
This is an invaluable tool for all knitters. So often at seminars there are many knitters desperately trying to watch demonstrations, take intelligent notes, or tape the proceedings - only to find when they return home the tape did not record, or the notes made no sense whatsoever.
And, being so busy trying to capture the material, they didn't have a chance to see all the things the instructor was showing.A taffeta is a plain weave that uses filament yarn weft silk, man-made filaments and a shot taffeta and shot twill has a warp and weft of different colours.
There are a number of derivatives, noted below. Gros de Tours is an extended plain weave that creates horizontal bands - 1 end to 2 picks. Gros de Naple is an extended plain weave with a thick, single weft so gives the appearance of a Gros de Tours. This is an extended plain weave swaps the Gros de Tours around - 2 ends to 1 picks. It was often used as brocade backing.
Louisine barre has bundled wefts, eg: 3 or 4 ends to 1 pick. This is typical of the 18th century in France. A Cannellatto di has 2 ends over 3 picks. Also known as natte. This is an extended plain weave used often with wool - 2 ends to 2 picks. Good effects are made with the integration of weave and colour.
A derivative of the Gros de Tours. It has a pattern shift - eg: groups of 16 ends and 2 picks, after 16 ends the pattern shifts up 1 pick. A Reps is a textile with vertical ribs from weft floats above a ground weave, usually plain weave. The Reps alternatif has one warp; Reps lance had a main warp forming the ground and a binding warp to bind the pattern weft.
The Victoria and Albert Museum holds samples of Chinese silks from ca. One piece from Soochow is a green figured damask with designs including some of the eight Buddhist emblems of Happy Augury.
The design is in floating warps of satin weave on a ground of plain weave. The warp is x-ply with a slight Z; double; approx. The weft is x-ply with no evidence of twist; thick; approx.
Plain Weave From ArchyWiki. Jump to: navigationsearch. Categories : Textiles China. Personal tools Log in. Navigation Main page Recent changes Random page Help.The structure of leno lace creates a light and airy, open weave scarf.
Sophisticated update to the weavers' old favorite - "the ruana". Woven in Halcyon's Si A study for color and weave in 8 shafts or 4 shafts.
Create a beautiful wall hanging or small area rug with this elegant bound weave pattern. Different trim trea Halcyon Yarn Camp To Evoking images of autumn leaves, mossy knolls and evergreen boughs, our Forest Glen throw will warm you on th Block Island is a lovely blend of natural fibers with a hint of sheen and a subtle interplay of shades wi The sinuous flow and drape of our Shimmering Shadow Weave in Tencel has been so popular that when a cu The perfect place setting for stoneware and pottery dishes.
Thick and nubby Casco Worsted Mats and ma Weave a traditional log cabin pattern featuring 1" x 1" squares. Log cabin is a fascinating pa Chickadee will soon be your go-to blanket to keep warm on cool nights. A deceptively easy to weave and de A shimmering and lofty woven shawl. Created in a simple twill variation, the result is a smooth, drapey, an Inspired by the lighthouse keeper's cottage on Seguin Island our easy-to-weave area rugs bring the wa A colorful warp of self-striping sock yarn peeks out cheerfully from the background in this beautiful wo Weave a pair of squishy pillows in a color-and-weave twill pattern.
A perfect accent for your bed or fa The Aurora Borealis Krokbrad is fun to weave because of the exciting color interplay.
The flow of colors qu A heavy yarn sett at ten ends per inch and a simple repeat threaded on two shafts make the Ruby Ladders Ru Pull up a chair to these lovely table settings! Woven cotton placemats in a 2-block, 4-shaft rep weave.
This handwoven twill towel set is soft, durable and a great value! Pattern is designed to use organic co The warmth of cotton chenille with the sheen of pearl cotton create a touch of luxury for your bathroom.It is sometimes presumed that the rigid heddle loom is a plain weave loom.
Plain weave is very simple on a rigid heddle loom and easy to set up. After a plain weave project or two or three or four! An easy way to jazz up your plain weave so that it looks patterned is to use a variegated yarn. You have two options with this technique. You can either warp with the variegated yarn and weave with a solid colour or warp with the solid colour and weave with the variegated.
Sugar n Cream ombre cotton. Lion Brand Landscapes. Red heart Jellybeans. Then there is clasped weft! Once again, we have plain weave but with the use of colour and some clever techniques, you can create distinctive and unique patterns.
Pairing variegated and solid yarns works very well for clasped weft. The most logical next step up from plain weave is the introduction of pick up sticks.
These are simple, effective and inexpensive flat sticks of timber with usually tapered ends that assist in the picking up of the threads. Some people who are handy with wood even make their own. There is just so much you can do with one, two or more pickup sticks. Besides picking up behind the heddle to weave patterns, you can also pick up at the front to weave a type of overshot.
This is where your pattern will sit on top of the background weaving rather than being incorporated in this is called a float. If you arrange your floats and colours in particular ways, you can weave all sorts of cool patterns! I have a lot of these overshot style videos on Youtube, but seeing as we are coming into the Christmas season, here are a couple of popular ones:. This is intended to be a brief overview of pattern weaving on a rigid heddle loom, there is so much more!
I have, however written about plaid and made some free drafts for your use. You can read that post here. I do hope that this has given you some ideas on where to start when you want to level up from plain weave. It takes you step by step through everything you need to get up and weaving. Happy weaving, Jude. What great information! And all in one place. Thank you so much, Kelly, for sharing your expertise with the weaving community! I briefly mentioned Colour and Weave as an additional technique to jazz up your […].
Your email address will not be published. Recipe Rating. Follow Me! Sign up for my newsletter and receive a free gift! How do I find the right class for me? Clothtober — Finding your style Clothtober — What about colour?The silk industry of America has of late years rapidly advanced to the front rank among the great textile industries of the world. It may indeed be proud of this position, to which that enterprising spirit and untiring energy peculiar to our nation, combined with our great technical and natural resources, has brought it.
That we are, on the other hand, not yet at the height of perfection we are also compelled to acknowledge, but if we consider the short space of time that the American industry has required for its development, as compared to the decades, almost centuries, to which some of the great European silk centers can look back, the fact is neither surprising nor discouraging. While it must not be our aim to imitate or copy their ways, inasmuch as out conditions and circumstances are quite different from theirs, we may still profitably study their methods in order to overcome our deficiencies.
The greatest advantage which our competitors derive from such a long existence consists in having at their disposal a force of skilful, trained help.
The manufacturers, appreciating the importance of this factor, make great efforts and pecuniary sacrifices to elevate and maintain the high standard of their industry.
For instance, they support textile schools and lecture courses, where young men can acquire a thorough technical education and equip themselves for a career of usefulness, thereby serving their own interests and at the same time furthering those of their chosen profession. This beneficial influence cannot fail to exert itself from the standard of the higher employer down to that of the weaver, who would naturally take more pains and interest in his work than if he were a mere mechanical appendage to his loom in order to keep it in motion.
Very little has been done in his country for technical education as far as the silk industry is concerned, and it was on this special branch, that prompted the author to offer in the present little work a treatise on the theory of shaft weaving for broad silks and ribbons. The subject while condensed, is made as clear and comprehensible as possible, and to many desirous of increasing their knowledge in this direction, this should prove a valuable help.
The author, through the medium of this work, hopes to win the approval and encouragement of the manufacturers, and will feel amply repaid should his efforts tend to develop a deeper interest in the "Queen of Textiles.
With this term we designate the operation preceding the weaving, by which all the warp-threads are drawn through the heddles of the harness. The order in which this is done varies according to the weave and the nature of the fabric to be produced; so we distinguish:. These form the simplest and most common method of drawing-in.
We begin with the first heddle on the left side of the shaft nearest to the warp-beamthen take the first heddle of second shaft and so on until all the shafts the set contains are used in rotation.
This completes one "draw," and this operation is repeated until all the warp-threads are taken up. The method of making the shaft nearest to the warp-beam the first, is almost universal with the silk business and is technically called drawing-in from back to front.
The opposite, or drawing in from front to rearis used occasionally, however, and in this case makes the first heddle on the left hand side of the front shaft No.
The making out of the Drawing-in Draftwhich must indicate the arrangement or the rotation in which the warp-threads are drawn in, can be done in various ways, of which we will mention the two most popular methods. The first is by using common designing paper, and indicating the rotation by dots. The horizonal rows of squares represent the shafts, the vertical rows the warp-threads.
A second method is to use paper ruled horizontally, the lines representing the shafts; and to draw vertical lines [pg 9] for the warp-threads. The latter are made to stop on the lines bearing the number of the shafts into which the respective threads are to be drawn. The draws coming under this heading are used very extensively in silk weaving, especially for fabrics requiring a heavy warp and a large number of shafts.
Enter first the odd and then the even shafts. An 8 harness draw of this kind, of which three repeats are shown in Fig. Point draws are a combination of a regular straight draw from back to front and one from front to back, the first and the last shafts only being used once, while the rest receive two ends each in one repeat of the draw.
It will be seen that 14 ends make a repeat; in fact, the number of warp-threads required for one draw will always be double the number of harness less 2, hence a 12 harness regular point draw will require 22 warp-threads for a repeat. The drawing-in draft illustrated in Fig. Another change from the regular point draw is illustrated in Figs.
The drawing-in drafts which we have described under the head of "Point draws," are used mostly to obtain the various pointed and zigzag effects. This division of drawing-in drafts is used extensively in silk manufacturing; for instance, in all fabrics having a ground warp and a binder warp, also in double-face goods, or where two different weaves are combined in one effect. One or more threads are drawn on the first section, then one or more on a second and third, if the harness is divided in so many sets.
In Fig. The idea is to draw a certain number of ends in one part of the harness and another group in another part, be it straight, point or skip, which will cause the effect on the cloth to be accordingly transposed or broken up.
In any woven fabric we distinguish two systems of threads, the Warp or Chainrunning lengthways in the cloth, and the Filling or Weftcrossing the former at right angles. This crossing or interlacing consists of every individual warp-thread being placed alternately under and over one or more threads of the filling system. The arrangement of this interlacing is technically called the Weaveand the variety in which the points of crossing can be distributed is practically endless.Very interesting to see your experiments.
I've been trying a similar-but-different structure. It's nice to move things out of the grid sometimes. Post a Comment. Thursday, June 16, Weave Structure--Cannele.
Last year in the "Fab Four" workshop with Robyn Spady I was introduced to the weave structure "cannele". On four shafts it is a plain weave fabric with warp and weft floats, much like the photo to the left. This year, in Charka with Eileen Hallman, Eileen suggested trying a cannele weave structure with a twill background for improved drape. My hope is to use some of my handspun cottons to weave a fabric that I can use for a top of some sort.
Cannele is a reasonable option for showcasing a special yarn without having to use tons of it! Eileen shared a 10 or 12 shaft cannele draft with me and I went to work to modify it for my 8 shaft loom.
After lots of tweaking, I got a draft that I liked after weaving my sample I can laugh at some of the mistakes in my draft I should have done a short sampler earlier in the drafting process!
I finally put on a short and narrow warp--two yards long, " on loom. I like the thicker yarn for the weft floats After a while I discovered that I didn't have to weave the weft floats.
No weft floats. Then I tried some handspun cotton singles as weft. This single was from a two color roving that we used in Eileen's class to practice using our spinning to make color changes. I wonder if this will change after wet finishing? Posted by Jessica Madsen at PM. Labels: 8H weaving. Newer Post Older Post Home. Subscribe to: Post Comments Atom. Sharing the Fiber Fever.